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List of C++ software and tools

This is a list of notable software and programming tools for the C++ programming language, including libraries, web frameworks, programming language implementations, compilers, integrated development environments (IDEs), and other related software development utilities. == Compilers and IDEs == AMD Optimizing C/C++ Compiler — proprietary fork of LLVM + Clang for Linux C++Builder — rapid application development (RAD) environment Clang – compiler front end for C, C++, and Objective-C, part of LLVM CLion — C++ IDE by JetBrains Code::Blocks — open-source cross-platform IDE that supports multiple compilers including GCC, Clang and Visual C++ CodeLite — cross-platform IDE for the C/C++ programming languages using the wxWidgets toolkit CodeSynthesis XSD – XML Data Binding compiler Dev-C++ — MinGW or TDM-GCC 64bit port of the GCC as its compiler GCC – GNU Compiler Collection Intel C++ Compiler – proprietary high-performance compiler by Intel KDevelop — IDE part of the KDE project and is based on KDE Frameworks and Qt, the C/C++ backend uses Clang. Microsoft Visual C++ – proprietary C++ compiler and IDE for Windows Oracle Developer Studio — Solaris, OpenSolaris, RHEL, and Oracle Linux operating systems. Qt Creator — part of the SDK for the Qt GUI application development framework and uses the Qt API SlickEdit — text editor and IDE Turbo C++ – legacy C++ IDE and compiler popular in the 1990s Understand — IDE that enables static code analysis through an array of visuals, documentation, and metric tools. Visual Studio — integrated development environment by Microsoft that supports C++ Visual Studio Code — integrated development environment by Microsoft that supports C++ Xcode — Apple IDE to develop macOS, iOS, iPadOS, watchOS, tvOS, and visionOS that supports C++ source code. == Debuggers == Allinea DDT – a graphical debugger dbx — a proprietary source-level debugger GNU Debugger – portable debugger that runs on many Unix-like systems Modular Debugger — a C/C++ source level debugger for Solaris and derivates Undo LiveRecorder — time travel debugger == Libraries == Active Template Library – template-based C++ classes developed by Microsoft Apache MXNet — deep learning framework Apache Xerces – parsing, validating, and serializing and manipulating XML. Asio — networking and low-level I/O library Bitpit — scientific computing and mesh manipulation library Boost — collection of peer-reviewed libraries Botan — cryptography library C++ AMP – easy way to write programs that compile and execute on data-parallel hardware, such as graphics cards and GPUs C++ Standard Library — standard library for the language C++/WinRT — library for Microsoft's Windows Runtime platform, designed to provide access to modern Windows APIs. C3D Toolkit — geometric modeling kernel Caffe — deep learning framework CAPD — library for rigorous numerics and dynamical systems Cassowary — constraint-solving toolkit that efficiently solves systems of linear equalities and inequalities Cinder — library for creative coding ClanLib — cross-platform game SDK CMU Sphinx — speech recognition system Crypto++ — cryptographic algorithms library Dlib — general-purpose cross-platform library Dune — partial differential equations using grid-based methods fastText — text representation and text classification library FLTK — GUI toolkit Geospatial Data Abstraction Library — geospatial data access library GDCM — image library General Polygon Clipper — polygon clipping library GiNaC — computer algebra system that uses Class Library for Numbers for implementing arbitrary-precision arithmetic GLFW — OpenGL and window management library HarfBuzz — text rendering and typesetting library High Efficiency Image File Format — digital container format for storing individual digital images and image sequences ITK — image analysis library Integrated Performance Primitives — domain-specific functions that are highly optimized for diverse Intel architectures Jackets library — GPU computing library JSBSim — open-source flight dynamics model JUCE — framework for audio applications KDE Frameworks — collection of libraries from the KDE project KFRlib — digital signal processing framework LEMON — library for optimization and graph problems LevelDB — key–value database library Libdash — MPEG-DASH streaming library libLAS — reading and writing geospatial data encoded in the ASPRS laser (LAS) file format libsigc++ — typesafe callbacks LibRaw — free and open-source software library for reading raw files from digital cameras libSBML — application programming interface (API) for the SBML (Systems Biology Markup Language) LIBSVM — sequential minimal optimization (SMO) algorithm for kernelized support vector machines Libx — DirectX .X files graphics library Loki — collection of design patterns LIVE555 — multimedia streaming library Metakit — embedded database library Microsoft Cognitive Toolkit — deep learning toolkit Microsoft Foundation Class Library — object-oriented library for developing desktop applications for Windows Microsoft SEAL — homomorphic encryption library mlpack — machine learning and AI library Mobile Robot Programming Toolkit — robotics research library Object Windows Library — Object Windows Library, superseded by VCL Open Cascade — CAD and 3D modeling library Open Asset Import Library — 3D model import library to provide a common API for different 3D asset file formats OpenCV – computer vision and machine learning library OpenFOAM — computational fluid dynamics toolkit OpenH264 — real-time encoding and decoding video streams in the H.264/MPEG-4 AVC format OpenImageIO — image processing library Open Inventor — higher layer of programming for OpenGL OpenNN — neural networks library OpenVDB — sparse volume data library openFrameworks — creative coding toolkit OpenRTM-aist — robotics middleware library Oracle Template Library — database access that supports IBM Db2 and Open Database Connectivity Orfeo toolbox — remote sensing image processing library OR-Tools — operations research and optimization library Parallel Augmented Maps — ordered sets, ordered maps, and augmented maps. Parallel Patterns Library — Microsoft library that provides features for multicore programming PhysX — physics simulation engine POCO C++ Libraries — general-purpose libraries for software development Poppler — PDF rendering library Protocol Buffers — data serialization library Qt — cross-platform widget toolkit QuantLib — quantitative finance library RocksDB — key–value database library ROOT — data analysis framework from CERN ROS — robotics middleware Scintilla — source code editing component SDL – Simple DirectMedia Layer, cross-platform development library for multimedia applications SFML – Simple and Fast Multimedia Library Shark – open-source machine learning library Shogun — machine learning toolbox Skia — 2D graphics library Snappy — compression library Sound Object Library — music and audio development Standard Template Library — library of containers and algorithms Stapl — parallel computing library SymbolicC++ — symbolic computation library TerraLib — GIS library Tesseract OCR — optical character recognition engine Threading Building Blocks — parallel computing library ThreadWeaver — concurrency framework Tiny-dnn — lightweight deep learning library TinyXML — lightweight XML parser Tkrzw — key–value databases VTD-XML — XML processing library wxWidgets — cross-platform GUI toolkit x265 — video encoding library for HEVC XGBoost — gradient boosting library Windows Template Library — Win32 development === Mathematical and numerical libraries === == Tools == Akonadi — a C++/Qt framework and storage service for personal information management BALL – framework and set of algorithms and data structures for molecular modelling and computational structural bioinformatics Boehm garbage collector – conservative garbage collector CEGUI — C++ GUI library ClanLib – video game SDK CMake — cross-platform build system for C++ projects Confidential Consortium Framework – blockchain infrastructure framework DaviX – WebDAV client Doxygen — documentation generator for C++ and other languages FLTK — Fast Light Toolkit, cross-platform GUI library Fox toolkit — C++ GUI toolkit GDB — GNU Project debugger, often used with C and C++ gtkmm — official C++ interface for the popular GUI library GTK HOOPS Visualize — 3D computer graphics HPX — partitioned global address space Parallel programming Runtime System JUCE — cross-platform C++ audio and GUI framework LessTif — free clone of Motif GUI toolkit MFC — Microsoft Foundation Class library Nana — modern C++ GUI toolkit PTK Toolkit — 2D rendering engine and SDK, and portability options. Qt — cross-platform C++ GUI toolkit Rogue Wave — C++ GUI toolkit TnFOX — C++ GUI toolkit Ultimate++ — cross-platform C++ GUI framework Valgrind — tool suite for debugging and profiling C/C++ programs wxWidgets — cross-platform C++ GUI toolkit x265 — encoder for creating digital video streams in the High Efficiency Vid
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List of artificial intelligence artists

Many notable artificial intelligence artists have created a wide variety of artificial intelligence art from the 1960s to today. These include: == 20th century == Harold Cohen, active from 1960s to 2010s. Cohen's work is primarily with AARON, a series of computer programs that autonomously create original images. Eric Millikin, active from 1980s to present. Millikin's work includes AI-generated virtual reality, video art, poetry, music, and performance art, on topics such as animal rights, climate change, anti-racism, witchcraft, and the occult. Karl Sims, active from 1980s to present. Sims is best known for using particle systems and artificial life in computer animation. == 21st century == Refik Anadol, active from 2010s to present. Anadol's work includes video installations based on generative algorithms with artificial intelligence. Sougwen Chung, active from 2010s to present. Chung's work includes performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. Stephanie Dinkins, active from 2010s to present. Dinkins' work includes recordings of conversations with an artificially intelligent robot that resembles a black woman, discussing topics such as race and the nature of being. Jake Elwes, active from 2010s to present. Their practice is the exploration of artificial intelligence, queer theory and technical biases. Libby Heaney, active from 2010s to present. Heaney's practice includes work with chatbots. Mario Klingemann, active from 2010s to present. Klingemann's works examine creativity, culture, and perception through machine learning and artificial intelligence. Mauro Martino, active from 2010s to present. Martino's work includes design, data visualization and infographics. Trevor Paglen, active from 2000s to present. Paglen's practice includes work in photography and geography, on topics like mass surveillance and data collection. Anna Ridler, active from 2010s to present. Ridler works with collections of information, including self-generated data sets, often working with floral photography.
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Dreams of Violets

Dreams of Violets is a film entirely generated by artificial intelligence, produced and directed by brothers Ash and Pooya Koosha. The film will be screened at the Tribeca Film Festival on 10 June 2026. All images and characters in the film were generated using AI-powered video tools and based on journalistic reports, photographs, and eyewitness accounts. == Plot == The film is a fictionalized dramatization of the events surrounding the massacre of Iranian civilians in January 2026. International organizations estimate the death toll at over 7,000, amidst protests and state violence that unfolded during a communications blackout.
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Fragile Dreams: Farewell Ruins of the Moon

Fragile Dreams: Farewell Ruins of the Moon (フラジール～さよなら月の廃墟～, Furajīru: Sayonara Tsuki no Haikyo; known in Japan as Fragile) is an action role-playing game for the Wii developed by Namco Bandai Games in co-operation with Tri-Crescendo. The game was released by Namco Bandai Games in Japan on January 22, 2009. It was later published by Xseed Games in North America on March 16, 2010, and in Europe by Rising Star Games on March 19, 2010, followed by its release in Australia on April 1, 2010. == Gameplay == In Fragile Dreams, the player character, Seto, must traverse the ruins of Tokyo and the surrounding areas, fighting off ghosts that lurk within these ruins. The game's heads-up display includes a mini-map and HP gauge for Seto's location and health, respectively. Seto will fall unconscious if his HP reaches zero, resulting in a game over. The player controls Seto from a third-person perspective with the Wii Remote and Nunchuk. Seto can use his flashlight (controlled by the Wii Remote pointer) to illuminate his surroundings or solve puzzles and interact with the environment. When searching for certain objectives or hidden enemies, pointing Seto's light in their direction picks up and plays their sounds through the Wii Remote's mini speaker. The Wii Nunchuk, meanwhile, directly controls Seto's movement: aside of basic movement, he can crouch to hide and crawl through small spaces. Seto will often come across damaged floors, which require slow movement (and for heavily damaged floors, crouching) to cross without falling through. As Seto, the player can use weapons found throughout the world to fight off ghosts, ranging from slingshots and golf clubs to crossbows and katanas. Each weapon can only take a certain amount of use: once a weapon reaches its limit, it will break after battle. The player can also find other usable and collectable items in the field, marked with fireflies. The player can only save their game by resting at small fire pits scattered throughout the world: used fire pits are marked with a bonfire. The player can also examine and identify Mystery Items, organize their inventory, as well as after encountering the Merchant, buy and sell items. As stated by the producer of the game, Kentarō Kawashima, Fragile Dreams is not strictly a survival horror: rather, its story focuses on human drama. In Fragile Dreams, aside of the main story, the player can find and examine objects and graffiti throughout the world. Objects called memory items (ranging from origami and stones to cell phones and books) hold the memories of their former owners (only accessible at bonfires), while the graffiti contains messages only seen by pointing at them in first-person. By examining these messages, the player can piece together hints to the game's backstory. == Story == === Setting and characters === Fragile Dreams is set in a post-apocalyptic version of Earth in the near-future. Almost all the world's population has vanished, leaving the surviving buildings and structures abandoned. The game is set in and near the ruins of Tokyo, Japan, where the event that nearly wiped out humanity may have originated. The protagonist, Seto, is a 15-year-old boy who searches the world for other living humans. He encounters Ren, a silver-haired girl who often leaves behind large, cryptic drawings. Other characters include: Sai, the ghost of a young woman; Crow, a mischievous and straightforward amnesiac boy; Personal Frame (P.F.), a portable computer who loves having conversations more than anything else; Chiyo, the ghost of a little girl; and the Merchant, a mysterious yet merry man who trades various goods. The game's host of enemies mainly consist of ghosts, but also include humanoid robots and security proxies. The main antagonist, Shin, is the AI of a scientist who considers speech to be an inferior means of communication. Various memory items include a greater set of characters, each giving hints to the game's backstory. === Plot === At the end of Seto's fifteenth summer, his grandfather dies. Seto buries him in front of their home, an old observatory, and that from then on he became "truly alone". At night, he searches for anything the old man had left for him and discovers a letter, along with a strange blue stone in a locket. Suddenly, a mask-like ghost appears and attacks Seto. After driving the creature off, Seto reads the old man's letter, who tells him to "reach a tall red tower" east of the observatory, where he might find other survivors. After departing for the tower, Seto reaches an old subway entrance in the Azabudai district and finds Ren sitting on a collapsed pillar, singing to the stars. He accidentally startles her and the frightened Ren flees into the subway station: getting over the shock of meeting another person, Seto follows her. While searching the station, he discovers a Personal Frame, who guides him towards Ren. Unfortunately, just as they reach the exit, P.F.'s battery dies out: Seto buries the device, keeping a screw from it in his locket. From the underground, Seto finds himself at an abandoned amusement park and encounters Crow, who steals Seto's locket. After a long chase across the park and another encounter with the masked ghost, Crow returns Seto's locket and directs him to a hotel nearby, where he saw a girl who might know something about Ren. Crow also gives Seto his skull ring to keep in his locket and kisses him. At the hotel, Seto encounters Sai and fights the masked ghost again. After laying to rest the spirit of an old woman named Chiyo, the two discover Ren's drawings by a sewer. Returning to the underground, Seto and Sai find themselves at a hydropower dam. While searching for Ren, Seto discovers that Crow is actually a robot, but his battery begins to fail and Seto mourns for him as he "die[s]". Finally, they encounter Ren in a cell: although glad to see him again, Ren runs off after Shin calls. Sai explains to Seto that most of humanity died because of a "human empathy expansion project" called Glass Cage. The project was meant to make human thoughts transparent, meaning that no one would need words to communicate. However, after Glass Cage activated, people who went to sleep never woke up again. Sai reveals that she was Glass Cage's first catalyst: this time, Shin intends to use Ren as the catalyst. After exiting the dam, a demolition crane attempts to destroy it. Hearing both Shin's and the masked ghost's voices from the crane — saying, "Any threat to the project must be eliminated." — the player realizes both are manifestations of Glass Cage. After Seto destroys the crane, Sai leads him to the facility where Ren was taken to. Entering the laboratory, Seto and Sai are confronted by Shin, who coldly dismisses Sai's attempts at reasoning with him and is adamant about proceeding with his plans. As they traverse the laboratory, they overhear a voice announcing "Glass Cage Launch Preparations Complete", strengthening their resolve to save Ren. Making it into the room where Ren is being held, Shin tells them of his intention to use Glass Cage to "obliterate corporeal beings". After Seto defeats him, Shin disappears and Seto releases Ren from the device holding her. Their reunion is cut short as Sai tells them that the backup system has "finished copying her psyche to the AI", allowing Glass Cage to proceed. Ren reveals Shin has escaped to the top of the Tokyo Tower and Seto asks Ren to wait at the base of the tower and for Sai to accompany her. On his way up the tower, Seto hears the voices of P.F., Chiyo and Crow wishing him luck. He confronts and defeats Shin a second time, who reveals his motivations: he had secretly used himself as the first test subject of the human empathy expansion project and gained the ability to hear the thoughts of those around him. Despite his initial belief in the project as a way for humans to empathize with one another, all he heard around him was "jealousy and contempt" and he soon grew disillusioned with the world as even his parents turned against him. Believing no person loved him, Shin wants to put an end to humanity. His words meet with a vehement response from Sai, as she tells him that she loves him, having developed those feelings while she was the catalyst and all she ever wanted was to be part of his life. Hearing this, Shin finds peace, tossing the AI mainframe away so Glass Cage can never be reactivated and vanishes together with Sai, hand-in-hand, after thanking Seto. Descending from the tower, Seto finally learns Ren's name and they resolve to look for other survivors together. == Development == Fragile Dreams was developed by the team at Namco Bandai Games. Director and producer Kentarō Kawashima came up with the concept for the game in 2003, before the Wii console was revealed. When the Wii was unveiled, it became the obvious choice as the game's platform as the Wii remote could be used to control the flashlight. Kawashima wrote the main scenario for the title, w
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MY F.C.

MY F.C. is a freemium app designed to organise and administer football teams. It is developed by MY F.C. Limited, a private company headquartered in Auckland, New Zealand. The app allows users to build a team by adding players and from there they can create trainings and matches, keep up with relevant news in the curated newsfeed, record statistics both individually and team based, follow the games live in the match-centre. The app also features integrated lineup builder with custom team kits. == History == Founders Sam Jenkins, Mike Simpson and Sam Jasper started MY F.C. in 2015 to help them "run their football lives". The app was launched on Android and iOS on 14 February 2017. == Accolades == MY F.C. won the first place prize at Bank of New Zealand Start-up Alley 2017 competition that aims to discover New Zealand start-ups who are doing innovative work and ready to establish themselves as long-term, sustainable businesses. The prize package included $15,000 and a trip to San Francisco.
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Age Of

Age Of is the eighth studio album by American electronic producer Oneohtrix Point Never, released on June 1, 2018, on Warp Records. Recorded over two years, it is the first Oneohtrix Point Never album to prominently feature Daniel Lopatin's own vocals. The album was accompanied by the MYRIAD tour, which premiered as a "conceptual concertscape" in 2018 at the Park Avenue Armory and ended its run in 2019. It features contributions from James Blake (who additionally produced and mixed the album), Anohni, Prurient, Kelsey Lu and Eli Keszler. The artwork, which employs Jim Shaw's "The Great Whatsit" as a central image, was designed by David Rudnick. While not entering the official United States Billboard 200 chart, it peaked at number 59 on the magazine's Top Current Albums chart. == Background == Lopatin produced Age Of in parts of a two-year period, during which he was also producing for other artists, including Anohni, FKA Twigs, Iggy Pop, and David Byrne. After composing the soundtrack for the Safdie Brothers' 2017 film Good Time, Lopatin moved to an Airbnb lodge in South Central Massachusetts, derived from his aspiration to live out the modern cliche of musicians moving to the woods to record albums; the eerie atmosphere in the lodge at nighttime influenced his desire to make "weird, little nightmare ballads". In addition to Lopatin's own singing, the album also features vocal performances from Anohni and Prurient, while instrumentalists Kelsey Lu and Eli Keszler contribute to several tracks. When the record was nearly finished, Lopatin reached out to musician James Blake to contribute to the mixing process, eventually traveling to Los Angeles to complete the album. The track "The Station" was originally composed as a demo for R&B singer Usher which was ultimately not used. On July 9, 2018, Lopatin released the original topline (vocal melody) demo for The Station through Sendspace. The track "Toys 2" imagines a theoretical sequel to the 1992 film Toys where actor Robin Williams' image has been recreated with CGI (as his will specifically forbade any usage of his image after his death), and pokes fun at the common electronic music trope of composing a soundtrack to a theoretical film (which Lopatin described as "horribly cliché"). == Concept and MYRIAD == Influences on Age Of included Stanley Kubrick's 1968 film 2001: A Space Odyssey, which inspired the narrative of the album's accompanying performance installation and tour MYRIAD, as well as William Strauss's The Fourth Turning, a favorite book of former White House Chief Strategist Steve Bannon, which Lopatin described as "insidious, like the voice of a computer insisting on the truth about history without any sensitivity given to how complex and non-linear systems might be"; Lopatin was subsequently inspired to "[use] that sort of taxonomy as a kind of farce to then create these little frameworks for understanding". Other inspirations included the writings of the 1990s multidisciplinary collective Cybernetic Culture Research Unit and the works of singer-songwriters such as Bruce Cockburn, Bob Dylan, and Paul Simon. Around the time Lopatin began finalizing Age Of in his Airbnb lodge, he began working on the concept for MYRIAD, a conceptual concert performance which premiered at Park Avenue Armory. He described the concept as a four-part "epochal song cycle" showcasing the idiocy of previous generations of living organisms. The loose story concerns a group of artificial intelligences near the end of time named a "Limitless Living Informational Intelligence" (represented in the MYRIAD logo as nine squares) which, for leisurely purposes, attempt to replicate the cultures and behaviors of the previously existent human species. It does this by determining an "average" of human experiences through the species' "recorded output", and does so through imperfect, heuristic techniques. The show was consequently divided into four sections, each representing an epoch of the cycle concept loosely inspired by the Strauss–Howe generational theory: the Age of Ecco, the Age of Harvest, the Age of Excess, and the Age of Bondage. Ecco is "a phase of pre-evolutionary ignorance", Harvest is "living in agrarian harmony with the world", Excess is "the age of unchecked industrial ambition", and Bondage is "an era of engorgement, wherein "we keep making more and more shit until there's no space left." MYRIAD mainly featured "three-hundred pound sculptures that hang from the ceiling like kebabs that secrete ooze", and a full ensemble that toured to perform songs from Age Of, including Eli Keszler, Kelly Moran and Aaron David Ross. The sculptures, as well as the visuals displayed on five polygon panels, were created by frequent Oneohtrix Point Never collaborator Nate Boyce. Initially, Lopatin planned for each of the album's four epoches to be represented by fragrances, the more noisy epochs being pleasant to the nose to make a "weird dissonance". However, due to lack of time and resources, that part of the plan was scrapped. == Composition == Whereas previous Oneohtrix Point Never albums followed musical styles from only distinctive eras, Age Of is the first album by Lopatin to incorporate elements of unique genres from a variety of periods, hence the "incompleteness" of its title according to reviewer Heather Phares, and his first pop-song-oriented release since his work for Ford & Lopatin. The sound palettes it uses are those from a variety of styles such as chamber pop, "android"-like folk and country music, yacht rock, smooth jazz, R&B, Future-style soul, black metal, new age, and stadium pop, as well as post-industrial sounds on tracks like "Warning", "We'll Take It" and "Same", and, in particular, baroque music and medieval music on the opening title track, "Age Of". Critics also noted elements of Lopatin's past discography being present on Age Of. The instrumentation of Age Of is made up of MIDI harpsichords, guitars, pianos, brass and vocals, as well as Lopatin's trademark unorthodox sound design, samples and synth presets. The LP's use of the harpsichord shows its similarities "with Eastern instruments such as the koto and with rapid-fire electronic melodies", wrote Phares. == Critical reception == Age Of was critically well-received upon its distribution. Some reviewers praised the album's use of collaborators. Reviewing the album for AllMusic, Heather Phares called Age Of a "landmark work" for Lopatin. She praised it as his "widest-ranging" release, elaborating that he "matches the album's ambition with plenty of emotion" and "gives his music exciting new shapes." Ross Devlin of The Skinny, in a five-star review of the record, also highlighted the album's amount of ambition, particularly the "wealth of exquisitely baroque moments, exploring history as a pliable, multi-dimensional rift", that gave it "exceptional sonic depth". The Observer praised Age Of for continuing the "off-kilter composition and unexpected instrumentation" of Lopatin's previous releases, and critic Matt McDermott highlighted that the producer increased his musical range with the record: "It's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture." Age Of was ranked the 15th best release of the year in The Wire magazine's annual critics' poll. == Track listing == Notes "Myriad Industries" is stylized as "myriad.industries". Sample credits "Age Of" contains a sample of "Blow the Wind" by Jocelyn Pook. "Manifold" contains a sample from "Overture (Ararat the Border Crossing)" by Tayfun Erdem; and a sample from "Venice Beach in Winter" (listed in the liner notes as "a keyboard sample from Reharmonization") by Julian Bradley. "Myriad Industries" contains a sample of "EchoSpace" by Gil Trythall. == Accolades == == Personnel == Daniel Lopatin – production, lead vocals, album art, design James Blake – additional production, mixing, keyboards Gabriel Schuman, Joshua Smith and Evan Sutton – assistance Greg Calbi – mastering David Rudnick – album art, design Prurient – vocals Kelsey Lu – keyboards Anohni – vocals Eli Keszler – drums Shaun Trujillo – words == Charts ==
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Fuzzy classification

Fuzzy classification is the process of grouping elements into fuzzy sets whose membership functions are defined by the truth value of a fuzzy propositional function. A fuzzy propositional function is analogous to an expression containing one or more variables, such that when values are assigned to these variables, the expression becomes a fuzzy proposition. Accordingly, fuzzy classification is the process of grouping individuals having the same characteristics into a fuzzy set. A fuzzy classification corresponds to a membership function μ C ~ : P F ~ × U → T ~ {\textstyle \mu _{\tilde {C}}:{\tilde {PF}}\times U\to {\tilde {T}}} that indicates the degree to which an individual i ∈ U {\textstyle i\in U} is a member of the fuzzy class C ~ {\textstyle {\tilde {C}}} , given its fuzzy classification predicate Π ~ C ~ ∈ P F ~ {\textstyle {\tilde {\Pi }}_{\tilde {C}}\in {\tilde {PF}}} . Here, T ~ {\textstyle {\tilde {T}}} is the set of fuzzy truth values, i.e., the unit interval [ 0 , 1 ] {\textstyle [0,1]} . The fuzzy classification predicate Π ~ C ~ ( i ) {\textstyle {\tilde {\Pi }}_{\tilde {C}}(i)} corresponds to the fuzzy restriction " i {\textstyle i} is a member of C ~ {\textstyle {\tilde {C}}} ". == Classification == Intuitively, a class is a set that is defined by a certain property, and all objects having that property are elements of that class. The process of classification evaluates for a given set of objects whether they fulfill the classification property, and consequentially are a member of the corresponding class. However, this intuitive concept has some logical subtleties that need clarification. A class logic is a logical system which supports set construction using logical predicates with the class operator { ⋅ | ⋅ } {\textstyle \{\cdot |\cdot \}} . A class C = { i | Π ( i ) } {\displaystyle C=\{i|\Pi (i)\}} is defined as a set C of individuals i satisfying a classification predicate Π which is a propositional function. The domain of the class operator { .| .} is the set of variables V and the set of propositional functions PF, and the range is the powerset of this universe P(U) that is, the set of possible subsets: { ⋅ | ⋅ } : V × P F → P ( U ) {\displaystyle \{\cdot |\cdot \}:V\times PF\rightarrow P(U)} Here is an explanation of the logical elements that constitute this definition: An individual is a real object of reference. A universe of discourse is the set of all possible individuals considered. A variable V :→ R {\textstyle V:\rightarrow R} is a function which maps into a predefined range R without any given function arguments: a zero-place function. A propositional function is "an expression containing one or more undetermined constituents, such that, when values are assigned to these constituents, the expression becomes a proposition". In contrast, classification is the process of grouping individuals having the same characteristics into a set. A classification corresponds to a membership function μ that indicates whether an individual is a member of a class, given its classification predicate Π. μ : P F × U → T {\displaystyle \mu :PF\times U\rightarrow T} The membership function maps from the set of propositional functions PF and the universe of discourse U into the set of truth values T. The membership μ of individual i in Class C is defined by the truth value τ of the classification predicate Π. μ C ( i ) := τ ( Π ( i ) ) {\displaystyle \mu C(i):=\tau (\Pi (i))} In classical logic the truth values are certain. Therefore a classification is crisp, since the truth values are either exactly true or exactly false.
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Mario Klingemann

Mario Klingemann (born 1970 in Laatzen, Lower Saxony) is a German artist best known for his work involving neural networks, code, and algorithms. Klingemann was a Google Arts and Culture resident from 2016 to 2018, and he is considered as a pioneer in the use of computer learning in the arts. His works examine creativity, culture, and perception through machine learning and artificial intelligence, and have appeared at the Ars Electronica Festival, the Museum of Modern Art New York, the Metropolitan Museum of Art New York, the Photographers’ Gallery London, the Centre Pompidou Paris, and the British Library. Today he lives in Munich, where, in addition to his art under the name "Dog & Pony", he still runs a creative free space between gallery and Wunderkammer with the paper artist Alexandra Lukaschewitz. In 2018 his work The Butcher's Son won the Lumen Prize Gold Award 2018 by working with figurative visual input. Mario Klingemann is part of ONKAOS, the new media artist support programme of SOLO. In collaboration with ONKAOS he has created works such as Memories of Passerby I, the first work made with AI to be auctioned at Sotheby's in 2019. In 2020, Mario Klingemann won an Honorary Mention in the Prix Ars Electronica with his AI installation Appropriate Response. In 2023, Klingemann presented A.I.C.C.A., a performative sculpture in the form of a dog capable of elaborating art critiques thanks to AI programming.
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Cumulus (software)

Cumulus is a digital asset management software designed for client/server system which is developed by Canto Software. The product makes use of metadata for indexing, organizing, and searching. == History == Cumulus was first released as a Macintosh application in 1992, and was named by Apple Computer as the "Most Innovative Product of 1992". Cumulus introduced search capabilities beyond those available in the Macintosh at the time, particularly relating to thumbnails. Cumulus 1.0 was a single-user product with no network capabilities. Among the main features of Cumulus 1.0, the search function automatically generated previews and contained support for the included AppleTalk – Peer-to-Peer – network. Cumulus 2.5 was available in five different languages and received the 1993 MacUser magazine Eddy award for "Best Publishing & Graphics Utility". In 1995, Canto introduced the scanner software "Cirrus" to focus on the development of Cumulus. Cumulus 3, released in 1996, introduced a server version for the first time and contained the possibility to spread files over the Internet via the "Web Publisher". Since Apple offered Cumulus 3 with its "Workgroup Server" as a bundle, Cumulus became one of the leading digital asset management systems. Cumulus 4 was the first version that was network-ready, and was available for Macintosh, Windows and UNIX operating systems allowing for cross-platform file sharing. Released in 1998, the support of Solaris was discounted later. Cumulus 5 modified the software core to use an open architecture providing an API to external systems and databases. The open architecture of Cumulus 5 also enabled a more functional bridge between Cumulus and the Internet. Cumulus 6 introduced Embedded Java Plugin (EJP) which allowed system integrators to build custom Java plug-ins in order to extend the functionality of the Cumulus client. Cumulus 6.5 marked the end of the Cumulus Single User Edition product, which was licensed to MediaDex for further development and distribution. Cumulus 7 was introduced summer of 2006. Cumulus 8 was released in June 2009, with new indexing capabilities taking advantage of multicore/multiprocessor systems, and ability to manage a wider variety of file formats. Cumulus 8.5 was released in May 2011. Support was added for multilingual metadata, sometimes referred to as "World Metadata." Cumulus Sites was updated to support metadata editing and file uploads. Cumulus 8.6 was released in July 2012, and contains an updated user interface for the administration of Cumulus Sites and additional features for web-based administration of Cumulus. Other additions include features for collaboration links, multi-language support and automated version control. Cumulus 9 was released in September 2013 and introduced a new Web Client User Interface and the Cumulus Video Cloud. The Cumulus Web Client UI was redesigned to provide users with a modern, easy-to-use interface to support and guide the user while addressing modern business needs. The Cumulus Video Cloud extends the Cumulus video handling capabilities to add conversion and global streaming. Cumulus 9 also saw the addition of upload collection links which allow external collaborators to drag and drop files directly into Cumulus without needing a Cumulus account. Cumulus 9.1 was released in May 2014 and introduced the Adobe Drive Adapter for Cumulus which allows users to browse and search digital assets in Cumulus directly from Adobe work environments such as Photoshop, InDesign, Illustrator, Premier and other Adobe applications. Cumulus 10 (Cumulus X) was released July 2015 and introduced two mobile-friendly products: the Cumulus app and Portals. The Cumulus app on iOS was designed to allow users to collaborate either on an iPhone or iPad. Portals is the read-only version of the Cumulus Web Client where users can work with assets that admins allow. Cumulus 10.1 was introduced in January 2016 and included the InDesign Client integration where users can work with Adobe InDesign while accessing their assets from Cumulus. Cumulus 10.2 was introduced in September 2016 and brought the Media Delivery Cloud using Amazon Web Services (AWS). It allows users to manage their media rendition in a single source and distribute media files globally across different channels and devices. Cumulus 10.2.3 was released in February 2017 and came with a "crop and customize photos" feature for Portals and the Web Client. == Product overview == The cataloging of the file via upload into the archive is where Cumulus transfers maximum information about the file from the metadata. For image or photo files, this is typically Exif and IPTC data. The metadata is mainly used to search the archive. The use of embargo data supports license management for copyrighted material. The managed files can be cataloged and their usage can be set. The indexing is based on a predefined taxonomy, which is governed by the internal rules of the organization or by industry standards. You can specify whether files can only be used for specific purposes or only by certain groups of people. The production management system includes version management for files. Via the publication function, the files can be distributed directly via links or e-mails. It's also possible to access from the outside via the Cumulus Portals web interface, which allows a read access to released content from the catalog. There are different variants, starting with the "Workgroup archive server" up to the "Enterprise Business Server" for large companies. Both server and client are extensible through a Java-based plug-in architecture. Since version 7.0, there is a web application based on Ajax with a separate user interface. For access to the Cumulus catalog on mobile, there has been an application for Apple devices based on iOS since 2010. == Miscellaneous == In 2015, Cumulus developer Canto established the first Canto digital asset management (DAM) event. The event is held annually in Berlin. The Henry Stewart team has been hosting DAM conferences since 2006.
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Riffusion

Riffusion is a neural network, designed by Seth Forsgren and Hayk Martiros, that generates music using images of sound rather than audio. The resulting music has been described as "de otro mundo" (otherworldly), although unlikely to replace man-made music. The model was made available on December 15, 2022, with the code also freely available on GitHub. The first version of Riffusion was created as a fine-tuning of Stable Diffusion, an existing open-source model for generating images from text prompts, on spectrograms, resulting in a model which used text prompts to generate image files which could then be put through an inverse Fourier transform and converted into audio files. While these files were only several seconds long, the model could also use latent space between outputs to interpolate different files together (using the img2img capabilities of SD). It was one of many models derived from Stable Diffusion. In December 2022, Mubert similarly used Stable Diffusion to turn descriptive text into music loops. In January 2023, Google published a paper on their own text-to-music generator called MusicLM. Forsgren and Martiros formed a startup, also called Riffusion, and raised $4 million in venture capital funding in October 2023.
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Woken Furies

Woken Furies (2005) is a science fiction novel by British writer Richard Morgan. It is the third novel featuring the anti-hero Takeshi Kovacs and is the sequel to Broken Angels. This addition to the series casts light upon Kovacs' early life providing information on his post-envoy activities. Morgan's official website and interviews suggest that Woken Furies could be the last Kovacs novel, although in 2018 (before Netflix cancelled the show) Morgan stated that the Netflix adaptation has "kind of woken it all up again" after all these years, making him possibly reconsider being done with Kovacs. == Plot == Takeshi Kovacs finds himself in a new "sleeve," or human body, back on his home planet of Harlan's World. He is on the run after making numerous attacks against the Knights of the New Revelation, an extremist religious order responsible for the death of his lost love and her daughter. Because she had violated tenets about resleeving, her executioners dropped her and her daughter's cortical stacks in the sea, effectively preventing them from being resleeved (into new bodies). While trying to secure passage after his most recent attack, Kovacs saves a woman named Sylvie from a group of religious zealots. In return, she allows him to take refuge with her mercenary "deCom" crew as they head out to decommission sentient military hardware that has run amok on the island of New Hokkaido (AKA New Hok). Sylvie is the "command head" of her crew, co-ordinating them during missions by using her biologically implanted circuitry and software. During one of these missions, Sylvie collapses, regains consciousness, and Kovacs realizes that her personality seems to have been replaced by that of long-dead revolutionary leader Quellcrist Falconer. Harlan's World is surrounded by automated "orbitals" which target flying objects, such as vehicles, with high-energy beam weapons known as "angelfire"; Falconer is believed to have died without a backup of her cortical stack when her getaway aircraft was destroyed by angelfire 300 years prior. When Sylvie's crew returns from New Hok, they discover a younger version of Kovacs has been illegally duplicated into a different body (AKA "double sleeved") and is hunting them on behalf of the Harlan family that rules the planet. Most of Sylvie's crew is killed and Sylvie/Quellcrist is captured. Kovacs schemes to rescue Sylvie by approaching old criminal associates of his, the Little Blue Bugs. The Little Blue Bugs mount a semi-successful attack on a Harlan fortress and rescue Sylvie/Quellcrist. Hiding from Harlan forces in a floating base, the neo-Quellists are sold out by its owner and recaptured. An assault by Kovacs and a single UN Envoy on the base ends badly when Kovacs is betrayed by the Envoy who was actually embedded with several colleagues. However, Sylvie/Quellcrist has established a connection with the orbitals and calls down angelfire, eliminating their captors. The younger Kovacs is killed in the aftermath. Sylvie explains that angelfire is a destructive recording device. Thus, in destroying Quellcrist and the helicopter carrying her, it copied her. When the technology of the deCom crews advanced far enough, her persona was able to insert itself into Sylvie's implants and co-exist in her body. The novel ends with Kovacs, Virginia Vidaura, and Sylvie/Quellcrist waiting to see if they can use Sylvie/Quellcrist's newfound connection to the orbitals and the expansion of a long-dormant genetic virus to turn the population against the ruling oligarchy.
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Fuzzy concept

A fuzzy concept is an idea of which the boundaries of application can vary considerably according to context or conditions, instead of being fixed once and for all. That means the idea is somewhat vague or imprecise. Yet it is not unclear or meaningless. It has a definite meaning, which can often be made more exact with further elaboration and specification — including a closer definition of the context in which the concept is used. The inverse of a "fuzzy concept" is a "crisp concept" (i.e. a precise concept). Fuzzy concepts are often used to navigate imprecision in the real world, when precise information is not available and an approximate indication is sufficient to be helpful. Although the linguist George Philip Lakoff already defined the semantics of a fuzzy concept in 1973 (inspired by an unpublished 1971 paper by Eleanor Rosch,) the term "fuzzy concept" rarely received a standalone entry in dictionaries, handbooks and encyclopedias. Sometimes it was defined in encyclopedia articles on fuzzy logic, or it was simply equated with a mathematical “fuzzy set”. A fuzzy concept can be "fuzzy" for many different reasons in different contexts. This makes it harder to provide a precise definition that covers all cases. Paradoxically, the definition of fuzzy concepts may itself be somewhat "fuzzy". Lotfi A. Zadeh, known as "the father of fuzzy logic", claimed that "vagueness connotes insufficient specificity, whereas fuzziness connotes unsharpness of class boundaries". Not all scholars agree. With increasing academic literature on the subject, the term "fuzzy concept" is now more widely recognized as a philosophical, linguistic or scientific category, and the study of the characteristics of fuzzy concepts and fuzzy language is known as fuzzy semantics. “Fuzzy logic” has become a generic term for many different kinds of many-valued logics, and is applied in many different areas of research, computer programming and industrial design. For engineers, "Fuzziness is imprecision or vagueness of definition." For computer scientists, a fuzzy concept is an idea which is "to an extent applicable" in a situation. It means that the concept can have gradations of significance or unsharp (variable) boundaries of application — a "fuzzy statement" is a statement which is true "to some extent", and that extent can often be represented by a scaled value (a score). For mathematicians, a "fuzzy concept" is usually a fuzzy set or a combination of such sets (see fuzzy mathematics and fuzzy set theory). In cognitive linguistics, the things that belong to a "fuzzy category" exhibit gradations of family resemblance, and the borders of the category are not clearly defined. Through most of the 20th century, the idea of reasoning with fuzzy concepts faced considerable resistance from Western academic elites. They did not want to endorse the use of imprecise concepts in research or argumentation, and they often regarded fuzzy logic with suspicion, derision or even hostility. That may partly explain why the idea of a "fuzzy concept" did not get a separate entry in encyclopedias, handbooks and dictionaries. Yet although people might not be aware of it, the use of fuzzy concepts has risen gigantically in all walks of life from the 1970s onward. That is mainly due to advances in electronic engineering, fuzzy mathematics and digital computer programming. The new technology allows very complex inferences about "variations on a theme" to be anticipated and fixed in a program. The Perseverance Mars rover, a driverless NASA vehicle used to explore the Jezero crater on the planet Mars, features fuzzy logic programming that steers it through rough terrain. Similarly, to the North, the Chinese Mars rover Zhurong used fuzzy logic algorithms to calculate its travel route in Utopia Planitia from sensor data. New neuro-fuzzy computational methods make it possible for machines to identify, measure, adjust and respond to fine gradations of significance with great precision. It means that practically useful concepts can be coded, sharply defined, and applied to all kinds of tasks, even if ordinarily these concepts are never exactly defined. Nowadays engineers, statisticians and programmers often represent fuzzy concepts mathematically, using fuzzy logic, fuzzy values, fuzzy variables and fuzzy sets (see also fuzzy set theory). Fuzzy logic is not "woolly thinking", but a "precise logic of imprecision" which reasons with graded concepts and gradations of truth. Fuzzy concepts and fuzzy logic often play a significant role in artificial intelligence programming, for example because they can model human cognitive processes more easily than other methods. == Origins == Vagueness and fuzziness have probably always been a part of human experience. In the West, ancient texts show that philosophers and scientists were already thinking critically about this in classical antiquity. Most often, they regarded vagueness as a problem: as an obstacle to clear thinking, as a source of confusion, or as an evasive tactic. It got in the way of providing clear orientation, guidance, direction and leadership. Therefore, vagueness became associated with a hermeneutic of suspicion — it was considered as something to avoid, as something undesirable. By contrast, in the ancient Chinese tradition of Daoist thought of Laozi and Zhuang Zhou, "vagueness is not regarded with suspicion, but is simply an acknowledged characteristic of the world around us" — a subject for meditation and a source of insight. === Sorites paradox === The ancient Sorites paradox raised the logical problem, of how we could exactly define the threshold at which a change in quantitative gradation turns into a qualitative or categorical difference. With some physical processes, this threshold seems relatively easy to identify. For example, water turns into steam at 100 °C or 212 °F. Of course, the boiling point depends partly on atmospheric pressure, which decreases at higher altitudes; it is also affected by the level of humidity — in that sense, the boiling point is "somewhat fuzzy", because it can vary under different conditions. Nevertheless, for every altitude, level of air pressure and degree of humidity, we can predict accurately what the boiling point will be, if we know the relevant conditions. With many other processes and gradations, however, the point of change is much more difficult to locate, and remains somewhat vague. Thus, the boundaries between qualitatively different things may be unsharp: we know that there are boundaries, but we cannot define them exactly. For example, to identify "the oldest city in the world", we have to define what counts as a city, and at what point a growing human settlement becomes a city. === The continuum fallacy and Loki's wager === According to the modern idea of the continuum fallacy, the fact that a statement is to an extent vague, does not automatically mean that it has no validity. The question then arises, of how (by what method or approach) we could ascertain and define the validity that the fuzzy statement does have. The Nordic myth of Loki's wager suggested that concepts that lack precise meanings or lack precise boundaries of application cannot be operated with, because they evade any clear definition. However, the 20th-century idea of "fuzzy concepts" proposes that "somewhat vague terms" can be operated with, because we can explicate and define the variability of their application — by assigning numbers to gradations of applicability. This idea sounds simple enough, but it had large implications. === Precursors and pioneers === In Western civilization, the intellectual recognition of fuzzy concepts has been traced back to a diversity of famous and less well-known thinkers, including (among many others) Eubulides, Epicurus, Plato, Cicero, William Ockham and John Buridan, Georg Wilhelm Friedrich Hegel, Karl Marx and Friedrich Engels, Friedrich Nietzsche, William James, Hugh MacColl, Charles S. Peirce, Hans Reichenbach, Carl Gustav Hempel, Max Black, Arto Salomaa, Ludwig Wittgenstein, Jan Łukasiewicz, Emil Leon Post, Alfred Tarski, Georg Cantor, Nicolai A. Vasiliev, Kurt Gödel, Stanisław Jaśkowski, Willard Van Orman Quine, George J. Klir, Petr Hájek, Joseph Goguen, Ronald R. Yager, Enrique Héctor Ruspini, Jan Pavelka, Didier Dubois, Bernadette Bouchon-Meunier, and Donald Knuth. Across at least two and a half millennia, all of them had something to say about graded concepts with unsharp boundaries. This suggests at least that the awareness of the existence of concepts with "fuzzy" characteristics, in one form or another, has a very long history in human thought. Quite a few 20th century logicians, mathematicians and philosophers also tried to analyze the characteristics of fuzzy concepts as a recognized species, sometimes with the aid of some kind of many-valued logic or substructural logic. An early attempt in the post-WW2 era to create a mathematical theory of sets with gradations of
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Latent semantic mapping

Latent semantic mapping (LSM) is a data-driven framework to model globally meaningful relationships implicit in large volumes of (often textual) data. It is a generalization of latent semantic analysis. In information retrieval, LSA enables retrieval on the basis of conceptual content, instead of merely matching words between queries and documents. LSM was derived from earlier work on latent semantic analysis. There are 3 main characteristics of latent semantic analysis: Discrete entities, usually in the form of words and documents, are mapped onto continuous vectors, the mapping involves a form of global correlation pattern, and dimensionality reduction is an important aspect of the analysis process. These constitute generic properties, and have been identified as potentially useful in a variety of different contexts. This usefulness has encouraged great interest in LSM. The intended product of latent semantic mapping, is a data-driven framework for modeling relationships in large volumes of data. Mac OS X v10.5 and later includes a framework implementing latent semantic mapping.
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IJCAI Computers and Thought Award

The IJCAI Computers and Thought Award is presented every two years by the International Joint Conference on Artificial Intelligence (IJCAI), recognizing outstanding young scientists in artificial intelligence. It was originally funded with royalties received from the book Computers and Thought (edited by Edward Feigenbaum and Julian Feldman), and is currently funded by IJCAI. It is considered to be "the premier award for artificial intelligence researchers under the age of 35". == Laureates == Terry Winograd (1971) Patrick Winston (1973) Chuck Rieger (1975) Douglas Lenat (1977) David Marr (1979) Gerald Sussman (1981) Tom Mitchell (1983) Hector Levesque (1985) Johan de Kleer (1987) Henry Kautz (1989) Rodney Brooks (1991) Martha E. Pollack (1991) Hiroaki Kitano (1993) Sarit Kraus (1995) Stuart Russell (1995) Leslie Kaelbling (1997) Nicholas Jennings (1999) Daphne Koller (2001) Tuomas Sandholm (2003) Peter Stone (2007) Carlos Guestrin (2009) Andrew Ng (2009) Vincent Conitzer (2011) Malte Helmert (2011) Kristen Grauman (2013) Ariel D. Procaccia (2015) Percy Liang (2016) for his contributions to both the approach of semantic parsing for natural language understanding and better methods for learning latent-variable models, sometimes with weak supervision, in machine learning. Devi Parikh (2017) Stefano Ermon (2018) Guy Van den Broeck (2019) for his contributions to statistical and relational artificial intelligence, and the study of tractability in learning and reasoning. Piotr Skowron (2020) for his contributions to computational social choice, and to the theory of committee elections. Fei Fang (2021) for her contributions to integrating machine learning with game theory and the use of these novel techniques to tackle societal challenges such as more effective deployment of security resources, enhancing environmental sustainability, and reducing food insecurity. Bo Li (2022) for her contributions to uncovering the underlying connections among robustness, privacy, and generalization in AI, showing how different models are vulnerable to malicious attacks, and how to eliminate these vulnerabilities using mathematical tools that provide robustness guarantees for learning models and privacy protection. Pin-Yu Chen (2023) for his contributions to consolidating properties of trust, robustness and safety into rigorous algorithmic procedures and computable metrics for improving AI systems. Nisarg Shah (2024) for his contributions to AI and society, in particular foundational work on the theory of algorithmic fairness using principles from social choice theory. Aditya Grover (2025) for his foundational contributions uniting deep generative models, representation learning, and reinforcement learning, and for their applications in advancing scientific reasoning.
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Generative literature

Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."
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